"The quartet of soloists for this work was [...] led by the sensational Maximilian Schmitt whose ripe, golden tenor so impressed me, both in Ticciati’s Don Giovanni and in last year’s opening concert."
Edinburgh Festival, Bruckner Te Deum with Philippe Herreweghe © seenandheard-international.com Simon Thompson – 21 Aug. 2012
Maximilian Schmitt discovered his passion for music at a very early age, as a member of the Regensburg Cathedral Choir. He later studied song under Professor Anke Eggers at Berlin’s University of the Arts and was taught by Roland Hermann. In 2005 and 2006, he was a member of the young ensemble at the Bavarian State Opera in Munich.
Maximilian gained his first stage experience as a member of Munich’s Opera Studios, before joining the ensemble at Mannheim’s National Theatre for the next four years. While there, he starred as David in Die Meistersinger von Nürnberg and Lensky in Eugene Onegin, in addition to various Mozart roles such as Tamino, Don Ottavio, Belmonte and Ferrando, before closing his successful time in Mannheim with the title role from Mozart’s La Clemenza di Tito (The Clemency of Titus) in 2012. In the same year, he made his debut as Tamino at the Dutch National Opera in Amsterdam in Simon McBurney’s celebrated production under the direction of Marc Albrecht. In René Jacobs’ production of Mozart’s Il Seraglio with Berlin’s Academy for Ancient Music, he took on the role of Belmont (CD available from harmonia mundi, France). In 2016, Maximilian Schmitt made his debut in another major Mozart piece, Idomeneo, at the Opéra National du Rhin in Strasbourg, followed by his debut performance at the Vienna State Opera as Don Ottavio. The climax and finale of his 2016/17 season will be his debut at the Scala in Milan, this time as Pedrillo in Mozart’s Il Seraglio under Zubin Mehta.
In addition to his passion for opera, concert singing is also of great importance to Maximilian. His widely-diversified repertoire stretches from Monteverdi via Mozart to Mendelssohn, guesting for famous directors such as Franz Welser-Möst, Daniel Harding, Thomas Hengelbrock, Fabio Luisi, Andres Orozco Estrada, Trevor Pinnock, René Jacobs and Robin Ticciati, and orchestras such as Berlin’s Academy for Ancient Music, Zurich’s Tonhalle Orchestra, the symphony orchestras of Bayerisher Rundfunk (BR), Mitteldeutscher Rundfunk (MDR) and Westdeutscher Rundfunk (WDR), the Vienna Symphony, the Cleveland Orchestra, the Swedish Radio Symphony Orchestra and Leipzig’s Gewandhaus Orchestra. Maximilian Schmitt is also a regular guest at various Parisian orchestras (Orchestre de Paris, Ensemble orchestral de Paris, Orchestre National de France), and even had the opportunity to play music at one of Claudio Abbado’s final concerts at the Lucerne Festival. A close partnership with Philippe Herreweghe allows Maximilian to consistently display his wide repertoire.
The new season opens for Maximilian with the Danish National Symphony Orchestra in Copenhagen, and Beethoven’s 9th Symphony under the direction of Manfred Honeck. He will also be guesting under François-Xavier Roth in Berlioz’s Requiem at the BBC Symphony Orchestra in London. Later, he will be on tour with Freiburg’s Baroque Orchestra, the first time under the direction of René Jacobs in Mozart’s Requiem, followed by a second tour performing in Bach’s Christmas Oratorio under Hans-Christoph Rademann. The first tour will be a specially-written production, recorded onto CD. As part of the Hamburg Elbphilharmonie’s series of opening concerts, Maximilian will play the role of tenor in Haydn’s Creation Mass under the direction of Thomas Hengelbrock and supported by Norddeutscher Rundfunk’s (NDR) Elbphilharmonie Orchestra. A busy season concludes with the role of Evangelist with the Cleveland Orchestra in Bach’s St John Passion under the direction of Franz Welser-Möst, and another tour, this time with the Orchestre des Champs Elysées under Philippe Herreweghe.
Recitals have a special significance in Maximilian Schmitt’s calendar, performing together with Gerold Huber at Amsterdam’s Concertgebouw, the Heidelberger Frühling, Cologne’s Philharmonic Orchestra and the Tonhalle Düsseldorf. Ever since his debut at London’s Wigmore Hall, Maximilian has been regularly invited back. After his debut album Träumend wandle ich bei Tag (Robert and Clara Schumann) was released, he recorded Schubert’s Die schöne Müllerin in 2013 (both available from Oehms Classics), and was able to present both in his celebrated debut at the Schubertiade in Schwarzenberg. In 2017, Maximilian can be enjoyed at the Schlosstheater Celle, at Wigmore Hall again, and in a special duet evening with Christina Landshamer at the aforementioned Schubertiade in Schwarzenberg.
In addition to his own recordings, Maximilian has also guested for numerous labels: in Haydn’s The Creation (Baroque Orchestra Freiburg/René Jacobs/harmonia mundi, France), Bach’s Matthäus-Passion (Gewandhaus Orchestra/Riccardo Chailly/DECCA; BR Choir/Cologne Concerto/Peter Dijsktra/BR Klassik), Dvorak’s Stabat mater/Requiem and Strawinsky’s Threni - Requiem Canticles (Royal Flemish Orchestra/Philippe Herreweghe/PHI), and Haydn’s The Creation and The Seasons (Orchestre des Champs Elysées/Philippe Herreweghe/PHI). He can also be seen on the DVD production of Bach’s Christmas Oratorio (Akademy for Ancient Music Berlin/BR Choir/Peter Dijkstra/BR Klassik). At the beginning of 2016, Maximilian recorded his first arias in Wie freundlich strahlt der Tag (WDR Symphony Orchestra/Patrick Lange/Oehms), exploring German Romanticism for the first time.
2016/2017 – July 2016 Please discard any previously dated material. The text may not be abridged or altered without the prior consent of KünstlerSekretariat am Gasteig.
For further information please visit: www.maximilianschmitt.com